Letteratura scientifica selezionata sul tema "Island life – Fiction"

There are no references to creative fiction in Erving Goffman’s founding statement of his sociology of the interaction order, his 1953 Chicago doctoral dissertation ( Communication Conduct in an Island Community). Yet four pages into his first and best-known book, The Presentation of Self in Everyday Life (1959), Goffman cites a ‘novelistic incident’ describing the posturing of Preedy, a ‘vacationing Englishman’ on a Spanish beach. It is introduced in order to articulate the distinction between ‘expressions given’ and ‘expressions given off’ and to indicate their capacity for intentional or unintentional engineering. The page-long passage about Preedy, found in a 1956 collection of William Sansom’s short stories, is often mentioned in reviews and summaries of Goffman’s groundbreaking book. This article describes the types of fiction drawn upon by Goffman and examines the ‘work’ that fictional illustrations distinctively do in his writings. The discussion sheds light not only on why Goffman elected to include fictional illustrative materials in his sociology and why eventually he dropped their use, it also underscores some strengths and limits of the fictional for interactional analysis in sociology.

Elif Shafak's 2021 novel The Island of Missing Trees describes fictional events that occur on the real island of Cyprus during the war between the Greek and the Turkish inhabitants of the island. This story is told from multiple points of view at various points in time in both Cyprus and London, where the characters move to and live following the events of the war and their families’ disagreements with their relationship. What is unique about Shafak's storytelling is her use of a fig tree as a primary narrator of events. While the use of non-human narrators is not a new strategy, most of these occurrences involve animal speakers rather than plants or objects. In delivering a fiction narrative from the point of view of a fig tree, Elif Shafak's The Island of Missing Trees introduces readers to multispecies encounters by providing an example of how arboreal figures communicate and experience history alongside humans in an anthropocentric world, and further encourages prosocial behavior between human and non-human species. Based on Shafak's novel, theories of attentiveness and slow-violence, and studies on the effect of non-human narrators on readers, including these "non-living" narrators in widely accessible pieces of fiction not only informs audiences of the multispecies encounters that occur in everyday life, but also opens more avenues of multispecies conservation.

Trying to put one's career into perspective is like selecting those eight records for the Desert Island; what should one choose? My recollections are more of people than events. A few individuals have had a lasting influence on me, many more have enriched my life, only rarely have I met somebody I would not care to meet again. People of all types have always fascinated me, and this is perhaps why I have greatly enjoyed my time in psychiatry. My career lacked any master plan, things happened, opportunities arose but my path was determined as much by chance as anything else.

“Sakhalin Island” occupies a special place among Chekhov’s creative works, which can be explained first of all by its documentary background and genre peculiarities. It is an undeniable fact but, as the present article shows, it would be wrong to separate “Sakhalin Island” from the writer’s fiction works. On the assumption of the integrity of the creative personality, manifesting itself regardless of the genres the writer works in, the author of the article studies repeated motifs in “Sakhalin Island”. As a result, the book comes close to Chekhov’s fiction works notable for the poetics of repetition. Naturally, repetitions are not so conspicuous in the writer’s long texts in comparison with his short pieces; nevertheless, they cannot but draw attention. Varying, overlapping and interpenetrating, the repeated motifs in “Sakhalin Island” (for example, boredom, bondage, rain, sea, escape/departure from the island, etc.) not only play a compositional role but also unite people’s fortunes, thus becoming an important exponent of Chekhov’s concept of life and a characteristic of generic traits of human nature.

Abstract The notion of sustainable development is one of the most popular concepts of our time. However, it remains controversial and quite problematic, especially for small islands and their communities. These challenges arise in relation to the limited scope of resources which can be used for development, and the difficulty of defining the needs of future generations. Looking at the history of many island jurisdictions, one is confronted with a picture of substantial economic evolution. Island communities have rarely, if ever, been able to foresee or plan their future; frequently, the situation has turned out to be very different from any previously envisaged scenarios. This should not be surprising, since small island destinies are often determined by external variables, over which they have little, if any, control. These variables include colonization, competition over scarce territories, improvements in transportation technologies, the information revolution and natural disasters. Thus, the very idea of sustainable development with respect to small islands is nothing but a charming slogan, an entertaining fiction rather than a reachable target. Of course, islands and their communities can take‘green’ initiatives that are more environmentally friendly; they cannot, however, achieve a state of sustainable development, except with a serious deterioration in the quality of life and off-island connectivity (by air or sea) of their residents.

Abstract This article explores Madeline Miller’s Circe from the perspective of Bakhtin’s concept of the chronotope, the inseparability of space and time in fiction. The article focuses on the chronotopes of the road, the idyll and the threshold in the novel, and how these intersect with its themes of gender and immortality. The island of Aiaia acts as a threshold, transforming all who cross it. Circe’s life on the island, however, is a repetitive idyll; only at the end of the novel does she become a traveller on the road herself rather than just a stop on the way.

Despite the reanimation of critical and biographical interest in Robert Louis Stevenson in recent years, the significance of a vital source of narrative energy and desire in his fiction has remained buried in obscurity. The reanimated corpse plays a central role in The Wrong Box, Stevenson's comic masterpiece of 1889, and also surfaces in other of his fictions including Treasure Island (1883), The Master of Ballantrae (1889), and The Ebb-Tide (1893-94). The desires brought into play by these narratives of reanimation are at once secret and homoerotic in nature, infringing taboos by treating death in a comic light, and by reminding readers of what were considered "unspeakable" sexual practices between men. In its disruption of narrative plot, moreover, the reanimated corpse represents an assault on the nineteenth-century realist aesthetic and has a contaminating effect on the agents of narrative closure in Stevenson's fiction. Despite the attempts to conceal or dispose of the unruly corpse, it continues to evoke disturbing desires that, once brought to life, cannot be "buried" by the narratives' strategies of containment. The corpse is thus associated with the indefinite deferral of narrative closure, and with the hollowness of character in the romance style that Stevenson preferred over literary realism. Through its effects of generic disruption and narrative desire, the reanimated corpse ultimately demonstrates the impossibility of containing Stevenson's work in any of the "boxes" traditionally constructed for the classification of narrative fiction.

Readings of Taiwan's Japanophone colonial-era fiction are typically influenced by politicised interpretations of Japanese rule (1895–1945) on the island and its significance to contemporary Taiwanese identity. Till recently, these discussions often marginalised colonial-era texts by Taiwanese women, initially due to limited translation during Taiwan's period of martial law (1945–1987), and later due to the fragmentary nature of these short stories. This article explores how millennial author Yang Shuangzi (1984-) overcomes the anticipatory politics of reception surrounding colonial-era fiction by adapting a short story by Yang Qianhe (1921–2011) through the lens of ‘Girls’ Love’ (GL), a predominantly online subculture made up of media (fanfiction, manga, fanart) portraying queer relationships between women and girls. By understanding the text as an adaptation, it is possible to explore how contemporary Taiwanese authors read and relate to colonial fiction, breathing new life into such texts through interpretations grounded in contemporary culture. In Yang Shuangzi's case, I argue that she not only emphasises Yang Qianhe's importance to Taiwanese women's fiction through adaptation, but that she also creates space for literary play and creativity. The article focuses on the process of adaptation to develop an argument about literary connection between generations of Taiwanese women, whilst also outlining how online subcultures can revitalise literatures caught in the back-and-forth of nation-state politics by establishing their own practices of language and form.

Dr Sylvester Lambert, an American public health doctor who worked for the International Health Board of the Rockefeller Foundation, created a magic lantern slide presentation to retell the arrest of a sorcerer that he had witnessed in 1925 on the island of Malakula in Vanuatu. In this article, I use creative non-fiction to envision other audiences and narrators of this storied event to present an expanded picture of life for Pacific Islanders at that time. I also reflect on how particular events make for good stories because they are contests about belief and incredulity. Reimagining medical stories of sorcery reminds us that medicine is part of larger contests over the nature of reality. This is an imaginative ethnographic experiment with decolonizing intentions which combines archival research, ethnographic research, colonial images and creative non-fiction. It aspires to untie the images from a single fixed colonial narrative and to revisit the images in ways that are open to multiple interpretations, audiences, and narrators.

In the vein of Daniel Defoe’s Robinson Crusoe (1719), the German writer Johann Gottfried Schnabel (1692–1748) wrote a four-volume Robinsonade novel, Die Insel Felsenburg [The Island Felsenburg], which was published between 1731 and 1743. Schnabel’s novel became extremely popular in Germany, as it tells the story of a group of shipwrecked settlers who, in the spirit of protestant piety, establish an ideal state on the beautiful island on which they are stranded. One day, they discover a hidden cave, where they find a well-preserved mummified man, sitting in a stone chair at a table. On a tin board, this man, Don Cyrillo de Valaro, had engraved important information for posterity: namely that he was born on 9 August 1475, came to the island on 14 November 1514, and recorded his recollection on 27 June 1606. His writing ends as follows: ‘I am still alive, however close to death, June 28. 29. and 30. and still July 1., 2. 3., 4. By recording every day that he was still alive, Don Cyrillo, the only inhabitant on the island at the time, managed to do what no autobiographer could ever complete: record his death. One could even go so far as to say that his method typifies a life-writing model – documenting the days of one’s life in the face of inevitable death. In the context of Schnabel’s novel, this episode is remarkable in so far as the most prominent entertainment of the island’s inhabitants is to tell one another about their lives. In the evening, when their work is done, they come together – and there is no TV or internet – and tell their stories. Remarkably enough, their stories are full of sex and crime – aspects of life that are banned from the virtuous island. The story of Don Cyrillo de Valaro and the settlers is fiction, of course. However, it triggers the question as to how ‘real’ autobiographers deal with or even describe their own deaths.

AbstractCriticizing the concept of culture as bounded, static and intrinsically connected to the nation, Peter van der Veer emphasized global connections and showed how global notions like the nation or religion are translated locally. This emphasis on global connections took him from India, his first ethnographic region, back to Europe—Britain and the Netherlands in particular—before he moved on to work on China. This ‘enigma of return’ perspective stirred up received ideas within the academic milieus in these countries. My aim in this chapter is to try and do something similar by returning to questions about religion, the secular and the nation after working on similar issues in Pakistan. I do this by rereading novels from the 1960s and 1970s that not only expressed changing ways of thinking and living, but also took these ideas further. I argue that the Dutch literary scene reflects the secular culture of the post-war generation, which still informs political debates about the place of religion, such as Islam, in the nation in the contemporary Netherlands. I also argue that contemporary secular culture is artistically and creatively barren in comparison to what it was in the 1960s and 1970s.

AbstractThe British author Martin Amis once remarked that “the way a writer names his characters provides a good index to the way he sees the world—to his reality-level, his responsiveness to the accidental humour and freakish poetry of life” (Amis Amis, The moronic inferno and other visits to America, Penguin, London, 1987, p. 13). If this is so, what, then, does the choice of the name Kartini for the protagonist in the 2007 pop novel Kembang Kertas (Paper Flowers) by the Indonesian woman writer Eni Martini with the provocative subtitle Ijinkan aku menjadi lesbian (Allow me to be lesbian) tell us about the way she appropriates the iconic feministfigure of Kartini who lived from 1879 to 1904? This essay explores how the Kartini image as a model of the ideal Indonesian woman is creatively refigured in this 21st-century expression of Indonesian popular culture and how the new post-colonial avatar is deployed to address problematics of gender, shame, and sexual orientation. The question arises as to the analogy between the emblematic Kartini, revered in Indonesia as the epitome of perfect heterosexual femininity, and the new-fangled Kartini figure in fictional form.

The Congested Districts Board was set up in 1891 to ameliorate the living conditions of some of the poorest people in Ireland living on the western seaboard. A remarkable number of writers emerged from these areas to create first-hand accounts of life on the margins. The fiction of Patrick McGill, Seamus Ó Grianna, and Peadar O’Donnell graphically evokes the politics of poverty in Donegal. The romantic image of the Aran Islands, cultivated by Synge, is somewhat surprisingly echoed by the Irish language poet Máirtín Ó Direáin and the fiction writer Liam O’Flaherty, both of whom came from Aran. The life of fishing and farming just above subsistence level is graphically evoked in the Blasket Island autobiographers, Tomás O’Crohan, Maurice O’Sullivan, and Peig Sayers.

Kevin MacNeil addresses the complex notion of home, by examining the way in which the Scottish islands are presented in literature, when they are presented at all. In a chapter which, in its conclusion, reminds its readers that ‘place is character’, he contrasts insiders’ and outsiders’ perspectives on islands and island lives, and shows that although both approaches are valuable, the former has a responsibility not just to the island itself, especially in case of isolated and overlooked communities, but to something larger which he sees as disconnected from the burden of representing one’s community. The dual perspective offered by the insider-outsider dialectics is related to issues of cultural appreciation and cultural appropriation. MacNeil examines crime fiction by ‘outsiders’ set on Scottish islands, wondering about its relevance to the actuality of island life and islanders’ identity. This examination brings him to offer a careful, thoughtful investigation of the intersections of narrative and meaning, what he calls its ‘real life impact’, and of the pitfalls of false cognition and cultural reinforcement. MacNeil values fiction ultimately for its capacity to reveal truth, a truth that goes beyond the accuracy of representation of place.

John McGahern, in his fiction and memoir, follows an ancient bardic tradition exemplified in our time by the poets Seamus Heaney and Sorley MacLean. This chapter takes a more personal approach to make connections between the author’s childhood in a small place on Cape Breton Island, Nova Scotia, and the early years of John McGahern, Seamus Heaney and Sorley MacLean, a Scottish poet. The chapter examines the author’s own formation as a journalist and novelist – a journey greatly influenced by McGahern and by the strong Irish and Scottish tradition of Breton Island - alongside that of the three writers. It explores the relationship between growing up on an island and a sense of isolation and inferiority that might go with it, and the impact that this kind of life might have had on McGahern’s, Heaney’s and MacSorley’s work and personality.

This chapter discusses the two geographical environments that predominantly shape Iris Murdoch’s identity and her fiction: Ireland, her birthplace, the ‘island of spells’, and London, the city in which she spent much of her life and spoke of as ‘sacred’. It first explores Murdoch’s often tortuous relationship with her homeland and the political upheavals that engulfed it during her lifetime, then moves on to illustrate how this ambivalence is reflected in a number of her Irish characters and the metaphorical fogs and mists that characterise her two ‘Irish’ novels The Unicorn and The Red and The Green. The second half of this chapter celebrates her less equivocal love of London, the dominant setting in twenty-four of the twenty-six novels, which is celebrated with an extraordinary acuity of detail. The chapter concludes with discussions of the ways in which the London settings serve multiple symbolic functions that include a sophisticated awareness of the complex connections between psychological well-being and the environment, distinctly feminist explorations of the male psyche, and an encoded system of images that points toward the moral issues within the novels.

Truman Burbank, a child who was adopted before he was born by a film company, had been brought up on Seahaven Island, a large and completely humandesigned plateau. On the island, Truman is the only ‘real’ person. Not only the surrounding environment but his mother, father, wife, and best friend are all part of the fiction as “actors.” The interplay between real and fiction is in fact being watched by millions of different countries in the world. Everything used in the show, all products, are objects of advertisement and for sale. We see in the movie that everything in the real world has a price and how popular culture shapes society with visuals. Today’s lifestyle leaning towards consumption bombards us with the ideology of use, finish, throw it away, and continue for the new. We cannot deny that architects and others from different disciplines working with architects are not complicit. Environments constructed with the promise of creating ideal spaces for living do not promote life experiences, city culture, or the well-being of the individual, but impose capitalism’s demands. The Truman Show, which leaves unanswered questions in our minds and brings about questions to question ourselves and those around us, foreshadowed today’s spectacle society. Social media and popular culture dominate our space of living day by day and people choosing to become not only spectators but also those who are watched turned to the directors of The Truman Show.The Truman Show movie, with all of its metaphorical descriptions, treats carefully the change in the notion of space. It eventually is a remarkable movie, bringing a new perceptive to architectural culture.

Chapter 2 develops a critical framework to examine islands and crime, and functions as something akin to a literature review. It situates island criminologies within these existing criminological lines of inquiry, while also taking an interdisciplinary, global, and critical approach to exploring how islandness might further inflect extant criminological theorizing. The chapter initially examines criminological interest in geographies, including criminology’s general bias towards urban life in the Global North and concomitant neglect of crime in island spaces and places, which exist on the periphery of peripheries. The chapter then draws on fictional accounts of islands and crime and attempts to provide some foundations for an interpretive or cultural approach to island criminologies. In doing so, it extends the concept of islandness to account for two broad, polar visions of islands, which are best operationalized through the lens of power relations: island idylls and island horrors. We argue here for a criminological approach to small-scale and remote societies that conceptualizes both place and space, and which centres the importance of power in understanding different forms of social regulation.

Abstract Modernist technique, most obviously stream of consciousness, has frequently been employed to make visible and public the reveries of women. Irish women’s contemporary fiction uses such tactics to underscore the ways in which real life intrudes on and reshapes this imaginative practice. In Night (1972), which riffs off the narrative techniques depicting Molly Bloom’s ruminations in Ulysses, Edna O’Brien demonstrates the limits of feminism and the sexual revolution in revamping individual psychology as well as in reworking modernist form. At the cusp of the twenty-first century, Ireland grappled with cultural alterations arising from the newfound affluence of the Celtic Tiger, widespread revelations of childhood sexual abuse across the island, and the promise of peace in Northern Ireland. Anne Enright’s The Gathering (2007) and Deirdre Madden’s Molly Fox’s Birthday (2008) focus on female characters in the throes of these contemporary conditions, adapting stream of consciousness to portray how the twenty-first century’s flush of goods and capital influenced the reveries of Irish women.

Since in the alternative history as a genre of literary fiction, the bifurcation point, namely the fantastic assumptions that at some of the turning points in history there was an alternative development of events, has a central role, this genre of literature has become quite useful in the analysis of the perception of national history through examination of the impact of certain events on the historical development of a given culture. In this paper, through the prism of the development of the genre of alternative history in Russian literary fiction, we look at historical events which stand out as central from the perspective of Russian authors, analyze the motives and the plot structure of these works, and propose a chronological classification of narrative worlds. The paper focuses on the most significant works of Russian literature of this genre, among which we have singled out the cycle of novels on alternative history of the Russian Middle Ages under the common title “Eurasian Symphony” (2000-2005) by Holm Van Zajchik, the short story “The Second Life of Napoleon” (1917), the novel “Pugachev the Victor” (1924) by Mikhail Pervukhin, the novel “The Island of Crimea” (1979) by Vasily Aksyonov, as well as the novels about the alternative history of the Second World War by Andrei Lazarchuk, Sergei Sinyakin and others.

This research explores the farming landscape and village life in Kampos, a village on the Greek island of Tinos. Tinos is an Aegean island with a long history of agriculture. In Kampos, one of the oldest farming villages of Tinos, boundaries created by low stone walls and alleyways primarily define the farming landscape that permeates village life and its structure. The landscape appears semi-artificial, given the construction of countless rows of cultivation ridges and terraces. Boundaries on the island appear through texts, space, movement and habit, thus creating. a series of liminal spaces. They represent areas – or rather situations – allowing for multiple co-existing levels of interaction, which are both ambiguous and can be transformed through negotiation. Negotiation would not be possible without language and narrative: Language arises through communal metaphors, stories, and fictional beliefs that bind and connect a small community together in a farming landscape, a community that has retained a quality of life closely connected to nature, architecture, and private and public realms, all by exhibiting features that can be found in a contemporary way of living. Objectified and non-objectifiable boundaries – in relation to the villagers’ land, water, private and public spaces –, their absence, their negotiation, the life that flourishes in-between them, and their relationship to men and women, ownership, and bonding, are important aspects examined in research. The presence, the lack of, and the negotiation of these boundaries, all unfold through fictional stories, narratives and interviews of villagers from Kampos. Through these narratives, I argue that when boundaries are obscure or create an in-between space of negotiation and communication, when they become a liminal space, then a different situation of ownership and bonding arises. Here, the villagers claim their properties’ boundaries, and negotiate these and sometimes fall into conflicts. Conducting this research, I determined that stories created from the villager’s life, space, and landscape consist of a series of metaphors that define ‘dwelling’ in this part of the world, in this specific landscape, which has a contemporary way of living, but still connected with tradition and the past as an action mimetic of the present.

Los megadesarrollos turísticos de sol y playa han sido impulsados por el Banco Interamericano de Desarrollo (BID) como proyectos de estrategia de desarrollo turístico, en México nacen los Centros Integralmente Planeados (CIP´s) para dar orden urbano, descentralizando grandes inversiones turísticas principalmente de origen extranjeros. Son identificados ante la promoción turística por la inversión de insumos y tecnología. Los emplazamientos turísticos de sol y playa han crecido y destinan espacios para el hospedaje turístico temporal y permanente. Este tipo de emplazamientos destacan por ser representaciones de exclusividad, privacidad y seguridad, manifestando enclavamiento en la serie de conjuntos turísticos construidos para integrar el megadesarrollo turístico, demarcando un acceso que indica el inicio del montaje realidad-ficción, conformando el montaje de ficción, que llevan a construir una realidad a partir del imaginario. Lo sucedido fuera del montaje será considerado como realidad, al establecerse una serie de compaginaciones que fabricarán la nueva realidad, la realidad-ficción, entre representaciones de fantasía visuales, de sonidos y sobretodo de ideas por transmitir, como es lo motivante que resultan para los turistas las guías turísticas. Las representaciones son basadas en imágenes de paisajes, personas, ciudades, entre otros emblemas simbólicos. Cada espacio por destacar será retomado para enfocar el montaje en dibujos, pinturas, danzas, arquitectura, entre otras dinámicas de conquista turística, igual sucede con la reproducción de sonidos relacionados con la exclusividad, privacidad y seguridad para el turista al interior del conjunto. Toda construcción de la realidad se realiza en un espacio y un tiempo definido a partir del imaginario, ya que existe el objetivo de cautivar al visitante, dentro de una serie de montajes continuos donde será eliminada la línea de corte entre montajes, convirtiendo la ficción en realidad para el turista, el montaje correcto y el escenario indicado, señalan el orden constante de los montajes. Del trozo de imágenes fabricadas y rescatadas del ambiente natural o real, se conformara una relación argumental a través de la compaginación con la secuencia adecuada de cada una de las escenas plasmadas por el imaginario, unir y encauzar los montajes para el cumplimiento de la representación en un filme. De los ejemplos más destacados son las creaciones a partir del imaginario en los Emiratos Árabes Unidos, representados en los hoteles como torre hilton baynunah, jumeirah Beach burj al-arab, hotel w, hotel apearon island y hotel eta, los cuales exponen servicios como compras de lujo, centros spa con instalaciones exclusivas para el deporte y el tiempo libre, habitaciones equipadas, climatizadas y con lo último de la tecnología. Se distinguen los colores y las formas por resaltar ante la cultura árabe, pero es importante señalar que cada uno de esos megadesarrollos turísticos marcará su filme con esta serie de montajes, que permitirán compaginar la serie de trozos de imágenes fabricadas ante la fantasía imaginada. Los megadesarrollos turísticos se distinguen por crear escenarios turísticos a partir del imaginario, destacando el enclavamiento a través de la búsqueda del concepto de seguridad, con un marcado interés para conformar comunidades nuevas, asimismo elementos como los acceso se encuentran custodiados por personal de seguridad que indicara la bienvenida al turista, sin conocer que será guiado y vigilado por cámaras de video ocultas en la masa de la edificación, también se distinguen elementos de seguridad para la movilidad y accesibilidad al conjunto, destacando vía aérea, naval ó terrestre, el recorrido al interior marcándose bajo un escalonamiento de cota descendente a nivel de playa, mostrara cada uno de los escenarios turísticos montados para indicar el recorrido al turista al interior del conjunto turístico. The sun and beach tourist megadevelopments have been stimulated by the Inter-American Bank of Development (BID) as projects of strategy of tourist development, in Mexico there are born the Integrally planned Centers (CIP's) to give urban order, decentralizing big tourist investments principally of origin foreigners. They are identified before the tourist promotion by the investment of inputs and technology. The emplacements have grown and destine spaces for the tourist temporary and permanent. This type stand out for being representations of exclusivity, privacy and safety, demonstrating interlock in the series of tourist sets constructed to integrate the tourist megadevelopment, limiting an access that indicates the beginning of the montage reality - fiction, shaping the montage of fiction, that they lead to constructing a reality from the imaginary one. The happened out of the montage will be considered to be a reality, on there having be established a series of page lay-outs that will make the new reality, the reality - fiction, between visual representations of fantasy, of sounds and overcoat of ideas for transmitting, since motivation is that the tourist guides prove for the tourists. The representations are based on images of landscapes, persons, cities and symbolic emblems. Chaque espace pour se faire remarquer sera repris pour mettre au point le montage dans des dessins, des peintures, des danses, une architecture, entre d'autres dynamiques de conquête touristique, égale il succède avec la reproduction de sons relatifs à l'exclusivité, confidentialité et sécurité pour le touriste à l'intérieur de l'ensemble. Toute construction de la réalité est réalisée dans un espace et le temps défini à partir de l'imaginaire, puisqu'il existe l'objectif de captiver le visiteur, à l'intérieur d'une série de montages continuels où la ligne de coupure sera éliminée entre des montages, en changeant la fiction en réalité pour le touriste, le montage correct et la scène indiquée, ils marquent l'ordre constant des montages. Of the chunk of images made and rescued of the natural or real environment, a plot relation was conforming across the page lay-out to the suitable sequence of each one of the scenes formed by the imaginary one, to join and to channel the montages for the fulfillment of the representation in a movie. Of the most out-standing examples they are the creations from the imaginary one in the United Arab Emirates represented in the hotels as tower hilton baynunah, jumeirah Beach burj al-arab, hotel w, hotel apearon island y hotel eta, which expose services as purchases of luxury, centers spa with exclusive facilities for the sport and the free time, equipped rooms with the last technology. The colors and the forms are distinguished for standing out before the Arabic culture, but it is important to indicate that each of these megadevelopments will mark with this series of montages, which will allow to arrange the series of chunks of images made before the imagined fantasy. The megadevelopments differ for creating tourist scenes from the imaginary one, emphasizing the interlock across the search of the safety concept, with a marked interest to shape new communities, likewise elements like them I access they are guarded by safety personnel that was indicating the welcome to the tourist, Without knowing that it will be guided and monitored by secret video cameras in the mass of the building, also safety elements are distinguished for the mobility and accessibility to the set, emphasizing airway, navally ó terrestrial, the tour to the interior being marked under an stairs of descending level to beach level, there was showing each of the tourist scenes mounted to indicate the tour to the tourist to the interior of the set.